June Happenings and the Final Theory

When I first created this blog, my intent was to get out a few ideas I had surrounding shmups. I wrote them all down in my sketchbook one particularly motivating day in February 2009. Back then I was posting once a week, eager to get all of these ideas out before they went stale. To my surprise, the blog took off, gaining readership by hundreds of people from around the world. Simon Carless himself asked me to crosspost my words of bullety wisdom to the then-new Gamasutra Expert Blogs. Things were great (i.e. chains were high), but then I started to run out of ideas. I slowed down to posting every two weeks, then to roughly every month, until I stopped posting for the latter half of 2010.

The Final Countdown
To this day, the site has gotten 20k+ views, excluding any feed readers out there (untrackable), so I'd say this has been pretty successful, especially for a blog without any ads, marketing, or under-the-table networking deals. I had gotten a few requests here and there during my lull to write some more SHMUPtheories. So I decided to make it my New Year's resolution to post a new something or other on the first day of every month in 2011. So far so good, but I don't see much of a future in 2012.

I'm not exactly saying this year will see the end of my writing about shmups and their theories. I see myself only writing from that point on when I think of something profound once again, something that captures my thoughts and doesn't let them go until I reason with them and walk away with a greater sense of understanding about the world revolving around bullets and superplays. Or maybe to boast about 1CCing Ikaruga (...one day, my old friend). Or maybe to get all giddy about RS3. Or maybe to continue touting my love for Treasure (♥). Who knows!

Around The Arena
This month, instead of focusing on some quirky quality about an element of a piece of a whole that makes up some obscure shooting game that only a handful of us have heard of, I'll instead give a bullet buffet of things happening in the world of shmups. Time to spread the love:

• A chap by the name of BulletMagnet - a much respected aficionado in the shooting-things-up world - has lovingly put together a *FANTASTIC* write-up on everything shmups, appropriately entitled "Shmups 101: A Beginner's Guide to 2D Shooters". It's long, thorough, accurate, and filled with more nostalgia than the sound of inserting another quarter into a Galaga cabinet.
• Cave, continuing to get hot and steamy with their love for porting arcade classics to the small screen, is getting ready to release Death Smiles for iPhone and iPod Touch. There's apparently some kind of live stream going on today (July 1) to show off some deathly gameplay (7:00am EDT, 8:00pm Japan), with the game releasing July 7th at a temporary discounted price. Get it.
• Child of Eden came out. You've already played it. I haven't completed it yet, so no spoilers. I'll likely be covering this bad boy later in the year once I can pick my jaw up off the floor and collect my mental euphoria into coherent internet babble.
• Eschatos and MuchiMuchiPork/PinkSweets combo pack are both still sold out or expensive everywhere. Does anybody know where these gems are available to a boy in the USA for less than $80? I've already accepted that importing is expensive, but maybe somebody knows of a secret shop somewhere I haven't heard of (worth a shot!).
  

Moving On Up (Highscores, I Mean)
I think I might have something special planned for the final scheduled [SHMUPtheory] of the year / ever (???). I've decided to not keep my posting intervals regular because, frankly, I've already said what I wanted to (and that was 2 years ago!). Even though more things will come to me that I will certainly want to talk about, there is an entire world out there of other things I'd also like to be talking about (referring to either videogames in general or life itself; can't decide).

I'm working fulltime on videogames, and making indie games in my freetime. Needless to say, games are still very much a significant part of my life, and will continue to be as such until basically the end of time. If I'm not making them, I'm playing them. If I'm not playing them, I'm discussing them. And when none of that is happening, I'm probably sleeping (which means I'm dreaming about them).

Until next month, keep those shots comin!

[cross-posted on Gamasutra] [continue]...

That Was The Sound Of You Winning

I recently read through this plea to Roger Ebert in defense of videogames being art, despite his popularly permanent claim that they never were, nor will they ever be. I really don't want to get into that discussion, not only because no one has ever made a good case for it either way, but because humans are still having trouble figuring out what "art" is in the first place, let alone if a videogame can be considered one. I bring this up because of a mention of Radiant Silvergun in that letter, noting the change in audio during the final battle against the human-like mass of all evil in the universe (if confused, please go play). At that point, I was again reminded how important sound is to an experience like that. It's probably the most important factor in a videogame's success.

What Did I Just Listen To?
As I've heard in many places, "The best sound design is transparent." That is, a sign of truly successful audio engineering in an experience is when the audience/player doesn't complain about it afterwards. Listening is passive. You can't focus your ears like you do your eyes to something visual; you can only pay attention to it more (and to other senses less). It's this reason why sound is the easiest way to subliminally get into a person's head without him or her knowing. And if that sound was meaningful for play? Then it'll not only enrich the experience, but make you remember it well after having played.

We should all be aware of how sound is used in movies: Orchestras tell us how to feel at any given moment, regardless of on-screen content. A lack of music lets us know that the current moment is important (or someone is about to appear in the mirror behind the supporting character who's about to die). The hero's gun is always louder than the enemies' guns. All punches and kicks are amplified so you can hear how they feel to the recipient. I could go on, but I wanted to address audio in games.

Hearing Is Fun Again
Games today look pretty cool. They have a way to go before we finally say, "Sweet, graphics can no longer improve." As for audio, the surface has barely been touched. It's pretty easy to make music for a movie, since that movie will play out identically every time. You can shape the music specifically to make every ounce of the movie stronger through smart sound decisions. Games, however (obviously), will not be the same experience between any two people. This is why it's so much more complicated to create that perfect experience. While one player may get a pretty good string of audio in his playthrough, another may get stuck in an area and hear the same segment loop over itself to the point of disgust. This is why scrolling shmups are the closest to being able to control an environment, as the developers will know exactly where in the level you'll be at any given time.

So I'd like to take a closer look (listen?) to some of my favorite levels from shmups I'm sure I've linked to far too often by this point, pointing out areas that help improve the experience through audio. I'm not saying that these following examples are the height of human accomplishment in audible excellence. I'm also not saying that other games never even tried. Most AAA games today have so many fancy audio techniques going on that I'm proud to see (hear?) so much effort being put into something we'll never visualize. However, they're not shmups so I'm not talking about them.

Radiant Silvergun

As mentioned in that argument for games as art, this segment of the game makes a drastic change from epic synth orchestra to a choir of sadness. It was a perfect switch to cement the fact that the rest of humanity and existence is gone by this point, and only you are left in this world to destroy that which created hatred (spoilers? Seriously, just go play). This is the only one of my examples that is just a looping sample, but in contrast to the rest of the game's soundtrack it makes a deep impact. Also of note is how certain audio motifs from the main theme are still buried within the harmonic schemes heard here, avoiding a complete sense of disconnect.

ESP Galuda II

The way the music starts in the first level was actually a selling point for me importing this game for lots of money from Hong Kong. I know this genre of electronic JPop-y music isn't up everyone's alley, but there's some smart stuff going on. The beat doesn't really kick in until the player gets his first powerup. The music takes a breather just as the first large enemy explodes, creating a sense of wonder in what was just accomplished. The finale of the piece doesn't conclude until the player has finished off the miniboss. The most complex portion of the music starts when the screen floods with enemies/bullets for the first time. All of these cues to the gameplay hidden in the audio have been a staple of Cave's games in recent years, so not only do these practices exist throughout the rest of this game, but they can be found in almost everything they've put out in the last 10 years.

Death Smiles

This one is just weird. Though to be fair, this is a game centered around Halloween and general ghosts, ghouls, and goblins. The final boss, closely resembling Death (complete with scythe), is accompanied by Bach's Toccata and Fugue in D minor. The song has always been an icon of grim times, so it's no surprise that it's used here. I'm only pointing this out because the rest of the game's soundtrack was totally original in composition. This kind of took a gamble to break the 4th wall and remind you that these developers have been doing homework and researching how to make your experience better. And I know this has been done many times in games over the decades, even with this piece in particular. I'm just saying it worked well. It made the experience creepy. It's possible they tried to create something original, but similar to Bach's piece, failed, and just used his since it's in public domain now. Either way, it successfully creates the perfect mood against a pretty menacing final boss.

Ikaruga

I would have to say that all of Ikaruga's tracks are beautifully composed to match the experience going on. The music here not only helps to enforce emotional connections to what's going on, but also plays a vital role in providing cues for when certain patterns are going to appear (for score hounds like me, naturally). This level is by far the most complex (visually), and the score here does an excellent job of capturing that chaotic nature of movement, interaction, frustration, and hopefully success.

Listen Up
So the next time you recall a game you love, try thinking about the music that went along with it. It's likely you'll immediately be whistling main themes and boss battles. This is not only because you heard them so many times, but because you enjoyed those experiences. You've heard a lot of annoying commercials in your life, many times, but to ask you to recall their jingles would be a little more difficult (thank goodness).

And the next time you play a game, don't bother paying any more attention to the audio than you already do. After all, it's supposed to be transparent. It's likely you won't even be able to spot the best uses of the medium. And for that, I'm glad.

[cross-posted on Gamasutra] [continue]...